Deneuve a study in contradiction

TORONTO — OMIGAWD! Catherine Deneuve loves Judd Apatow movies. Exactly why that seems so inconceivable isn't just a product of the famed French icon's continuing reign as the world's most beautiful woman (sorry, Megan Fox), or her deep catalogue of art-film credits that span from the crest of la Nouvelle Vague to the fetid waters of Los Angeles.

The basic problem in connecting the two dots is the apparent intellectual distance between the two forces of nature. Deneuve is all class and intelligence. Apatow is all crass and flatulence.

And yet, as Deneuve perches on the edge of an ivory loveseat in a suite at Toronto's Four Seasons Hotel, we end up talking about looks, love, feminism, death, identity and truly silly cinema.

"I love the old American comedies and the American comic actors of a certain time, you know, (Ernst) Lubitsch and Irene Dunne and Carole Lombard and Cary Grant, and — who is this woman I'm thinking of? She was often seen as bubbly, maybe, but very smart ...?"

Judy Holliday?

"Yes! Judy Holliday. I love her."

Ask Deneuve why she's so taken with the Golden Age of screwball and smart dialogue, and she explains how comedy can be a salve for the maladies of the times. Back in the '40s, life was hard, but the comedy was light and fluffy — a meringue that melted in your mouth.

These days, it's more like a cheap Twinkie: filled with artificial colours and sweeteners, and designed to appeal to the common denominator tastebud.

"In some ways, it's true: The (American comedy) has become more infantile, but I think this is because the world has grown that much harder again. I think that has to do with the fact that you always have to think of the child you were," she says.

"Before, life was hard, but you could not cry. You could not show the emotions if you were to be a real grown-up, but a new generation of filmmakers has changed all this. They say it doesn't matter. Judd Apatow has been a great help for that."

As the syllables of Apatow's name sift through her mellifluous vocal chords, my pinball brain starts to tilt: You, Catherine Deneuve, are a Judd Apatow fan

"Oh yes! I love his movies! He's so funny! And the actors are incredible!"

Without prompting, Deneuve goes on to explain the rationale for her fandom: "I think it's the mix of daring, you know, daring to be funny at any cost ... and the energy that American actors have."

In addition to Apatow, Deneuve also mentions the work of Wes Anderson, especially Royal Tenenbaums, which she counts as one of her favourites.

"(Director) Arnaud Desplechin actually made all of us watch that movie before we started shooting Un conte de Noel," she says.

Back to comedy, once more in Potiche, Deneuve says Ozon didn't ask her to see the original play, but she was familiar with the actress who played her part of latent feminist, Suzanne Pujol, on stage.

The story of a trophy bride aging in silence as she dotes on her adulterous husband and two grown children, Potiche features Deneuve in the role of a "petite bourgeoisie" matron who writes poetry about squirrels until a heart seizure incapacitates her husband and puts her atop the corporate ladder.

Deneuve says she's nothing like the little Hausfrau she plays on screen, but she says that was the central reason why her old friend Francois decided to cast her in the part

"He was laughing when he asked me to do it. He knew it was a bit absurd for me to play a part like this, but that's comedy. I knew it would be fun, because it was so far from my character.'

For those who may not remember the feverish times of '70s-era feminism, Deneuve was on the front lines. As one of the 400 women who signed Simone de Beauvoir's manifesto demanding open access to abortion in 1971, Deneuve had no problem identifying herself as a feminist and as a woman who wanted control over her own reproductive organs.

"I was part of this struggle. I'm not the most powerful feminist. . . . It's not the biggest part of my identity, but it's something I felt a part of and still care about. There is still a lot of work to be done in this regard, in many countries around the world."

As for the rest of Deneuve's personal identity, she says she's finally comfortable with who she is, and what she's all about. But it was a long process, because, as one of the beautiful people, the perception of others can hamper one's own personal progress.

"I don't know if I would be a different person if I had a different look, because I am who I am, and so much of who you are comes from how other people read you, and reflect you," she says.

"I was brought up in a family of good-looking girls and my mother never told any of us we were lovely, or anything like that ... and when I emerged from this group to be on my own, I was very young and I was very shy. I think the biggest obstacle for me to overcome was my shyness."

Despite personal growth and societal change, Deneuve says it's a pity we still live in such a cosmetically oriented world.

"Women are still valued according to the way they look, because we live in a visual society. It's the way it is. But some people can go beyond that, they can see beyond the physical impression. But if you have a visual appeal, it changes the way (you are valued). If I had been born in a different body, I think I would have the same character and like the same things, but I would be a much different person, to be sure."

Now that she's in her 60s, Deneuve says she has surrendered to the facts of life — and death

"I do think about mortality. In fact, I cried recently about a family matter ..." she trails off, and steers away from further details. "What can I say? It's very sad, because, well, we all have to go," she says.

"Which is why comedy is so important. It brings joyfulness to living."

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